Cultural Studies

On Tilt: The Inheritance and Inheritors of Digital Games accepts and extends Eric Zimmerman's contention that literacies currently being developed during video-game play will be more broadly applicable (outside games) in the next hundred years as Western work, education, entertainment, and citizenship spaces become ever more shaped like video games.

To the end of better understanding both video games and the players and literacies contiguous with them, this dissertation interrogates comparisons between video games and... non-digital games, film and other fictional texts and worlds, blogs, casinos' games of chance, and the strategies employed by face-to-face criminals, always asking about the roles and responsibilities the human participants in these systems take; that is, this dissertation investigates what video games inherit from other forms of art, including non-digital games, and what the gamers and audience of today and tomorrow inherit through their contact with video games.

The dissertation examines in detail works by Jodi Dean, Bernard Suits, Bruce Sterling, T. L. Taylor, Walter Benjamin, Gavin de Becker, N. Katherine Hayles and Nicholas Gessler, and Katie Salen and Eric Zimmerman, considering their work, the video game, and gamers, in terms of power gaming, genre, fiction and suspension of disbelief, audience, motivations, fungibility, the zombie vs. the robot, value vs. meaning, agency, slipstream, capitalism, and ontology.

Ultimately, the dissertation suggests that there are two disparate strains of gamification building Zimmerman's future, arguing first that the penetration of video games into culture is changing the way we behave and exist as audience and more generally, and, second, that what is at stake, in terms of the attitudes, labels, and gameplay that we accept in terms of games and gamification is significant to what it means to be human, especially within systems that are only partly human, in the next hundred years.

Author Keywords: digital, gamification, genre, literacy, new media, videogame

This dissertation focuses on the English-language anarchist periodical press in the United States in the 1890s and early 1900s. Each of the three chapters of this dissertation examines one anarchist paper and its coverage of a specific issue. The first chapter focuses on Prison Blossoms, which was started by Alexander Berkman, Carl Nold, and Henry Bauer and written and circulated in the Western Penitentiary of Pennsylvania, and its engagement with Alexander Berkman's attempt to assassinate Henry Clay Frick. The second chapter examines Free Society, a weekly edited primarily by Abraham Isaak, and its contributors' writings on the assassination of President William McKinley by self-described anarchist Leon Czolgosz. Finally, the third chapter focuses on The Demonstrator, specifically its first volume which was edited by James F. Morton Jr. from the intentional community of Home, Washington, and the paper's work in supporting John

Turner, the first anarchist targeted for deportation under the Immigration Act of 1903. Drawing upon critical discourse analysis, this dissertation incorporates examination of the context in which these papers were written (particularly the immediate concerns to which the papers' authors responded), the form and generic conventions of the anarchist press, including the approaches of the papers' respective editors, and the

arguments advanced by their authors. It pays particular attention to the intertextuality of the anarchist press -- the ways in which those writing in anarchist papers addressed one another both within and across periodicals, generating anarchist thought through conversation and debate and enacting their anarchist ideals in the practice of publishing.

This dissertation demonstrates that the anarchist periodical press, an element of anarchist history that has received little attention, offers important insights: it details how anarchists immediately responded to important issues of their time, and reveals the ways in which the emergence of anarchism was itself a collective effort, emerging from conversation,

debate, and disagreement about how best to create radical change and what that change should look like.

Author Keywords: anarchism, anarchist periodicals, critical discourse analysis, Free Society, Prison Blossoms, The Demonstrator

The dissertation explores the aesthetic anthropology of Georges Bataille and his collaborators in the Collège de Sociologie, a distinguished group of intellectuals including Roger Caillois, Michel Leiris, Pierre Klossowski, and Walter Benjamin among others. At the dissertation's outset the role, influence, discovery and indeed invention of the Marquis de Sade as the almost mythic prefiguring for so much French aesthetic thought in the period beginning after World War One and up until even the present day is advanced. Before Freud in Vienna, Sade in Paris: the central thematic axis of the following addresses Eros noir, a term for reflecting on the danger and violence of sexuality that Freud theorizes with the "death drive." The deconstruction of the nude as an object and form in particular in the artwork of Hans Bellmer and the writing and art of Pierre Klossowski comprises the latter two chapters of the dissertation, which provides examples of perversion through the study of simulacra and phantasms. The thwarted pursuit of community in the vacated space of Nietzsche's death of a God is a persistent leitmotif of the following in the account it offers of the thought of Georges Bataille and other members of the Collège de Sociologie. Eros noir, at the fatal cusp between ascendant manifest sex and a latent diminished Christianity, underwrites much of the French intellectual contribution to the symbology of cultural modernism.

Author Keywords: Bataille, Georges, 1897-1962, Collège de Sociologie, Eroticism, Sade, marquis de, 1740-1814, Surrealism, The Uncanny

In dialogue with the critical scholarship on war and remembrance, my research deals with the construction, contestation and negotiation of collective memory in contemporary Vietnam with a focus on commemorations devoted to dead soldiers. Utilizing the methodologies of cultural studies and ethnography, this research seeks to comprehend the politics of memory which characterize collective memory as a social phenomenon whose meanings, interpretations and forms are variedly constructed from a certain social group to the next. Empirically, in this research, constitutive elements of Vietnamese postwar memoryscapes including the hero-centered discourse sanctioned by the Communist Party and the Socialist state, the family remembrance rooted in religious and kinship mandates and the newly emerged online ecology of memory are examined in their own nature as well as in their complicated intertwinements and constant interactions with each other. Case studies and specific methods of individual interview, participant observation and cultural analysis enable the author to approach and identify a wide range of forms and intersections between official and vernacular practices, between oral and living history and institutionalized and cultural presentations of memory. While considering these issues specifically in the Vietnamese context, my dissertation contributes to the increasing theoretical debates in the field of memory studies by exploring the relation of power and the symbolic struggle within and between different social agents involved. As it emphasizes the dynamic and power of memory, this research furthermore situates the phenomenon of collective memory in its dialogues with a broader cultural political environment of postwar society, which is characterized as a hybrid condition embracing processes of nationalism, modernization and post-socialist transformation. Significantly, during these dialogues, as demonstrated in this research, memory works embrace presentism and future-oriented functions which require any social group who is involved to negotiate and renegotiate its position, and to structure and restructure its power. Last but not least it must construct and reconstruct its own versions of the past.

Author Keywords: collective memory, Dead soldiers, postwar society, Socialist Vietnam, the politics of memory, war remembrance

This dissertation offers a cultural analysis of UFOs and extraterrestrials in the United States. In it I look at what I call real aliens — extraterrestrials believed to be real and interacting with humans on Earth. Beliefs in real aliens are often denigrated and dismissed in official discourse, yet they continue to not only persist, but thrive, in American society. Hence, this dissertation asks: Why do so many people believe that extraterrestrials are visiting our planet? Part One begins by tracing the invasion of real aliens in the United States using Orson Welles's 1938 radio broadcast "The War of the Worlds" as a starting point. Here, I look at how and why the broadcast registered with listeners' anxieties and created a fantastic and uncanny effect that made it possible for some to conceive of aliens invading the United States. In Part Two, I trace the rise of ufology, which involves the study of extraterrestrials currently interacting with humans on Earth, and I consider how the social and political climate of the Cold War, as well as the cultural environment of postmodernity, provided the necessary conditions for stories about aliens to be made believable. Part Three explores the case study of the Roswell Incident, a conspiracy theory about the origins of an alleged flying saucer crash and government cover-up. I look at the reasons for why many individuals have come to believe in this conspiracy theory and I reflect on the tensions between "official" and "unofficial" discourses surrounding this case. I also consider how and why Roswell has become such an important site for ufology, and I examine the performances given by ufologists at the annual Roswell International UFO Festival to appreciate how ufologists offers seductive explanations of why things are the way they are; for many, their stories offer a better version of events than the purely rational and positivist explanations offered by official sources, especially since they tap into the disillusionment and mistrust that many Americans feel about contemporary politics.

Author Keywords: aliens/extraterrestrials, America, conspiracy, official and unofficial, storytelling, ufology

The three projects that make up this dissertation try to articulate an ontological idea of art; which is to say, they all approach art, or the imagination (as in project two), from the standpoint of a philosophical question concerning the sense of being. The ontological question is elaborated in terms of a theory of the spatial-temporal structure of the aesthetic or sensible realm. This kind of ontology contrasts with a more traditional metaphysical one, where the sense of being is sought within the purely intelligible realm, a realm that transcends the sensible. In projects one and two, the contrast is developed in terms of the Nietzschean/Heideggerian critique of metaphysics, and through the work of Jean-Luc Nancy, who appropriates this critique. In project three, it is developed in terms of Bergson and Deleuze's critique of objective time, or of any attempt to define being and time in terms of what is static and unchanging. Art is central for the ontology at stake here, and the ontology is one of art, because it is a matter of questioning the spatial-temporal being of the sensible, and not the being of the purely intelligible; and because art (as I try to show) is itself essentially concerned with revealing this ontological dimension of the sensible.

Author Keywords: Aesthetics, Art, Being, Fragment, Image, Time